Tag Archives: Greenwich Theatre

THE RIVER

★★★

Greenwich Theatre

THE RIVER at the Greenwich Theatre

★★★

“each actor was incredibly committed and the chemistry between them was fantastic”

Jez Butterworth’s The River returns to London at the Greenwich Theatre. A play about a man who takes his girlfriends to a lovely country cabin by a river. Yet he is seemingly haunted by … something?

The show begins with a scene featuring The Man (Paul McGann) and The Woman (Amanda Ryan). They share romantic exchanges before he convinces her to go out fishing with her. After which The Man returns with The Other Woman (Kerri McLean), and their relationship and conversations appear no different. This partner swapping occurs throughout the play, suggesting that The Other Woman is one of potentially many previous partners The Man has taken to the lodge.

It has to be said that the cast, under the strong direction of James Haddrell, were brilliant. I was consistently engrossed in their characters as each actor was incredibly committed and the chemistry between them was fantastic. I could not, however, tell you what the moral or meaning of this story is though – which left me unsatisfied. Throughout the whole show, various mirroring scenes between The Man and the two women occur. In all of them I felt like I was just waiting for them to get to the point. As if we were searching through The Man’s psyche (of which the women are just tools to help do so) via the medium of his dating life, but never actually getting anywhere. He never opens up to his partners and never tells them the truth. He’s searching for something in these women, but we don’t know what. Perhaps that is the point that I am just missing. Maybe the point is he doesn’t know what he’s looking for and he is unsatisfied. That is why we don’t get answers.

McGann’s naturalistic performance of the man is subtle yet nuanced. He wonderfully shifts from loving to anxious to investigative in a matter of moments, and he was key in holding my attention throughout the show. The atmosphere of the theatre was also incredibly accurate. Julian Starr’s sound design is lovely in the way that the subtle noises of the natural world are played constantly – from the occasional cricket to the melody of the river moving. Emily Bestow has designed an incredibly detailed set that fits with the naturalistic style: a fishing cabin (where at one stage, a fish gets gutted) full to the brim of life and the world of The Man.

The best part of The River is the incredibly strong and dedicated performances throughout. It’s unfortunate that they are let down by what I would describe as a repetitive and unsubstantial plot line.


THE RIVER at the Greenwich Theatre

Reviewed on 3rd October 2024

by David Robinson

Photography by Danny With A Camera

 

 

 

 

 

 

Previously reviewed at this venue:

VINCENT RIVER | ★★★ | June 2023
AN INTERVENTION | ★★★½ | July 2022
BAD DAYS AND ODD NIGHTS | ★★★★★ | June 2021

THE RIVER

THE RIVER

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An Intervention

An Intervention

★★★½

Greenwich Theatre

An Intervention

An Intervention

Greenwich Theatre

Reviewed – 28th July 2022

★★★½

 

“Helen Ramsay is brilliant as the bolshie good-timer, leaning into a very believable sibling-like petulance”

 

A and B have been friends for a few years now. Best friends even, and they’ve come to rely on one another for the truth. But B has started seeing someone who disapproves of A, and it’s tearing them apart.

The unlikeliness of their friendship is already in the script: A is rambunctious and charming, whereas B is introspective and uptight. But both love a tussle, and they’re not afraid to disagree, which is, we’re told, the crux of their relationship. That’s all well and good, but we never really get to see the good bits of the friendship, or, in particular, what B has to offer A. It’s hard to know whether this is the fault of writer Mike Bartlett or director James Haddrell, or maybe the chemistry just isn’t right, but ultimately, whilst A is definitely not perfect, B comes across a drag as well as a bad friend, so it’s kind of hard to support the friendship when it seems doomed from the get.

As we’ve come to expect from Bartlett, the script is quippy and clever, latticing political eloquence with nonsense banter. Helen Ramsay is brilliant as the bolshie good-timer, leaning into a very believable sibling-like petulance. Lauren Drennan definitely has the harder job, but despite her seeming fairly unlikeable in her relationship with A, she comes alive when she turns to the audience to speak directly about her choices, which does give us an idea of who she might’ve been when they first met.

But given there isn’t really a set- just a white curtain, and a coat rack- there’s a lot of pressure on Ramsay and Drennan to keep the audience entirely focused and engaged with pure dialogue for just under two hours, which would be a struggle with even the quippiest and most eloquent of scripts. Even a sofa would’ve done, or a couple of chairs, just to give some texture.

Without giving the whole thing away, the ending seems a little overwrought considering the careful nuance of the plot until then. Also, because a suspension cable is required in the last scene for health and safety, Ramsay quickly runs off stage at a crucially tense moment to be clipped on, and the audience is blasted with an angsty soundtrack as the stage momentarily blacks out, as though we might not notice this massive interruption, and I’m left feeling confused and distracted just when I’m supposed to be gripped.

It’s hard not to be particularly critical with a Mike Bartlett play, considering how well received the prolific writer has been in the last few years. But although I wanted this to be exceptional, it’s still very good, with moments of brilliance; a thoughtful consideration of what we expect of our friendships, and how much is too much.

 

 

Reviewed by Miriam Sallon

Photography by Lidia Crisafulli

 


An Intervention

Greenwich Theatre until 13th August

 

Previously reviewed at this venue:
Bad Days And Odd Nights | ★★★★★ | June 2021

 

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